The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology

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Arved Mark Ashby, Associate Professor of Music Arved Ashby
Boydell & Brewer, 2004 - Music - 404 pages
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The debate over modernist music has continued for almost a century: from Berg's Wozzeck and Webern's Symphony Op.21 to John Cage's renegotiation of musical control, the unusual musical practices of the Velvet Underground, and Stanley Kubrick's use of Ligeti's Lux Aeterna in the epic film 2001. The composers discussed in these pages -- including Bartók, Stockhausen, Bernard Herrmann, Steve Reich, and many others -- are modernists in that they are defined by their individualism, whether covert or overt, and share a basic urge toward redesigning musical discourse. The aim of this volume is to negotiate a varied and open middle ground between polemical extremes of reception. The contributors sketch out the possible significance of a repertory that in past discussions has been deemed either meaningless or beyond describable meaning. With an emphasis on recent aesthetics and contexts -- including film music, sexuality, metaphor, and ideas of a listening grammar -- they trace the meanings that such works and composers have held for listeners of different kinds. None of them takes up the usual mandate of "educated listening" to modernist works: the notion that a person can appreciate "difficult" music if given enough time and schooling. Instead the book defines novel but meaningful avenues of significance for modernist music, avenues beyond those deemed appropriate or acceptable by the academy. While some contributors offer new listening strategies, most interpret the listening premise more loosely: as a metaphor for any manner of personal and immediate connection with music. In addition to a previously untranslated article by Pierre Boulez, the volume contains articles (all but one previously unpublished) by twelve distinctive and prominent composers, music critics, and music theorists from America, Europe, Australia, and South Africa: Arved Ashby, Amy Bauer, William Bolcom, Jonathan Bernard, Judy Lochhead, Fred Maus, Andrew Mead, Greg Sandow, Martin Scherzinger, Jeremy Tambling, Richard Toop, and Lloyd Whitesell. Arved Ashby is Associate Professor of Music at the Ohio State University.
 

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Contents

Intention and Meaning in Modernist Music
23
The End of the Mannerist Century
46
A Fine Analysis
54
In Memory of a Receding Dialectic The Political Relevance of Autonomy and Formalism in Modernist Musical Aesthetics
68
TwentiethCentury Tonality or Breaking Up Is Hard to Do
103
ToneColor Movement Changing Harmonic Planes Cognition Constraints and Conceptual Blends in Modernist Music
121
Sexual and Musical Categories
153
Listening to Schizophrenia The Wozzeck Case
176
Are You Sure You Cant Hear It? Some Informal Reflections on Simple Information and Listening
223
A Fine Madness
253
One Mans Signal Is Another Mans Noise Personal Encounters with PostTonal Music
259
The Modernization of Rock Roll 196575
277
Refiguring the Modernist Program for Hearing Steve Reich and George Rochberg
325
Modernism Goes to the Movies
345
List of Contributors
387
Index
391

The Musician Writes For the Eyes of the Deaf?
197

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